Blue Apollo - Light Footed Hours + Circles (2017)

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Written by Jay Snyder, posted by blog admin

Dallas, TX trio Blue Apollo work up an admirable alt-rock sweat on their debut EP release, Light-Footed Hours.  As jangling, angular guitar lines rooted in minor-key chord phrasings brush shoulders with hard-hitting tribal tom rolls, deep diving bass lines and breathy higher-register vocal melodies in the title it’s clear that the band were raised in a school that taught John Mayer, Stevie Wonder, James Blunt and maybe even a little Slint.  It’s a rousing opener with a very casual flow but some nice tempo jolts thanks to Jeremiah Jensen’s punchy snare runs in the second half and guitarist/vocalist Luke Nassar’s scalding lead licks.  This is simply a well-put together rock track and it’s got the vocal magic to mold it into something special.  A great singer can carry an average band but a poor singer can’t carry a top-tier unit, graciously, neither is the case here. 

Groovy funk rhythms especially felt in those throbbing bass lines collide with reggae flavored guitar ska as Nassar breezes through a free-form scat in the hyper catchy “Feeling Right.”  Dramatic musical stops n’ starts lend the cut some jarring sonic expositions.  Jensen’s drums flex nothing but steroid pumped muscle throughout (his snare-work deserves special mention) while bassist Rodman Steele anchors down the groove with dense, fluid bass lines that weave in and out of the main guitar melody.  Luke’s lead guitar runs are yet again a highlight; even adding some classic rock style squeal, scorch and flair to the way they slowly, deliberately uncoil.  A touch of organ accompaniment further enriches the music in a golden 70s aura that enraptures the eardrums and keeps the listener involved for the long haul. 

“Therapy” kicks off with a simultaneously subdued and rocked-out lead guitar riff that picks up the pace as the drumming cautiously ratchets up the intensity.  Soon the rhythm section takes over with tidal ebb n’ flow of gorgeous sound as the guitar occupies an atmospheric role until it swells noticeably in volume during the tune’s show-stopping chorus.  James Blunt fans should be able to get down with the alternately indie and alt-rock tendencies going down in this cut (which so happens to turn out to be one of the EPs greatest highlights).  A melancholy, moonlit piano arrangement opens up “Avalanche.”  This piece provides a showcase for Nassar’s massively expressive pipes and a wonderful singer/songwriter showcase that focuses on the absolute most stripped-down structuring available.  Jensen integrates a sparse kick-drum beat with some cello wrapping around the twinkling ivories.  Layer by layer the song builds into something truly grand.  The bass creeps in carefully with sparse notations that rest within a bed of sparkling, crystal clear guitar melodies.  Surprisingly the music builds to a full band climax with some of the EP’s most frenetically rocked-out instrumentation contained within.  “Meant to Be” adheres to a similar format but pairs Luke’s soothing voice with mainly desolate guitar lines that eventually gives rise to another entire band climactic shuffle which sounds great and delivers the appropriate amount of impact. 

Bonus track turned single “Circles” closes out the record with spacey, high-energy buoyancy rippling in waves of effortless tom-tom pulsations, ever-flowing bass grooves, ambient electric guitar twang, a handful of bluesy riffs and soaring vocals.  It’s a perfect endnote to an EP that traverses many varying modes over its brief 6-song trajectory.  Honestly, the quality and satisfaction delivered by the material hear makes this record feel like a full-length.  At any rate, this is really good stuff and well-worth your time and hard-earned dollar.